DEREK SEDAM
Staff Writer
On their latest album, The Kills’ “Midnight Boom” leaves behind the band’s lo-fi, minimalist roots to produce their most cohesive, sleek and catchy album yet.
Things get dark and heavy right away in “U.R.A. Fever.” Driven by dial tones and hand claps, it provides the right amount of substance for female vocalist VV and singer-guitarist Hotel to trade off the lyrics “Take you to a jukebox, that’s the situation; Pick you out a number, that’s our arrangement.”
The rest of the album is put into the hands of Spank Rock’s producer Alex “XXXchange” Epton, and The Kills ride through the bouncing bass lines, hand claps and the occasional cough like they had planned to be this new hybrid of rock all along.
VV spits off punk rock one-liners like “I’m bored of cheap and cheerful, I want expensive sadness,” over a looping drumline on “Cheap and Cheerful,” during which The Kills do a better job of wanting rock ‘n roll than Joan Jett ever did. It’s a wild ride as the flirtations continue with, “I want you to be crazy because you’re boring baby when you’re straight.”
“Sour Cherry” is another XXXchange track that brings the playground back into the frame. The hand jives, claps and guitar line that ride along with the best of previous singles from the band.
The Kills bring to light the dirtiest, damp and dark bar you could ever imagine. Their anti-establishment punk-rock attitude has always carried their music, but never into the next level. Minimal drum sequencer and background noise gave way to hard rock riffs and VV giving her Patti Smith and PJ Harvey impressions.
Somewhat confusing, it is mostly the product is pure garage rock ‘n roll.
Ever since The Kills debuted in 2003, they have been constantly fighting their public image of the “indie White Stripes.” VV and Hotel (both changed their names as they considered their new band Year Zero) came out of nowhere (much like Jack and Meg) to rave reviews, but never had a sound that captured an entire album.
Their constant pulling of back-forth lyrics creates a sexual tension unmatched by any band. The Kills is the epitome of the anti-establishment and what is cool in music, but their first two albums have lacked the memorable aspects of other new indie projects such as She & Him.
When the duo went back to the studio, they studied a 1960’s documentary that recorded schoolyard chants and cheers to brighten their sparse and dark sound.
Fans of the band will be pleased with the old school rocker “Hook and Line,” which is a lot like their old material. Playing on an amp way too small for the studio, Hotel blasts away a Jack White guitar riff while the drum machine in the back is barely audible.
The band doesn’t save the last track for a soft ballad as they usually do. Both “Black Balloon” and “Goodnight Bad Morning” build up to soft, simple and beautiful melodies and are both standout tracks on the album.
One of the best things about “Midnight Boom” is that although it tries to take on many new aspects for the band, it is still concise in its message.
Clocking in at almost 34 minutes along 12 tracks, The Kills manufacture another great album of stripped-down percussion and blues-rock without having to lose focus of the newfound upbeat hand claps and melodies.
“Midnight Boom’s” push-and-pull chemistry from VV and Hotel shows The Kills are still bringing sexy back to punk rock.
04-03-2008
